What’s Going On? Balenciaga Resort 2027

Balenciaga has released its resort 2027 lookbook. It’s Pierpaolo Piccioli’s strongest work for the house so far – which doesn’t necessarily mean it’s good. Maybe he’s getting there. But I still think he needs to decide what exactly he wants his Balenciaga to be, because at this point, I’m still clueless.

The collection spans more than 80 looks, photographed inside Cristóbal Balenciaga’s couture salon. The space itself carries enormous symbolic weight, especially considering it was Demna who restored, reclaimed, and reactivated it not a while ago. Using it this early in Piccioli’s tenure feels almost too obvious. Rather than communicating a convincing new chapter, the setting keeps pulling the conversation back to the previous one. Visually, it feels less like a fresh beginning and more like reheated nachos. READ MY FULL REVIEW HERE.

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Mumbo-Jumbo. Balenciaga Pre-Fall 2026

The more I live, the more I understand that compromise isn’t a good thing. And that becomes evident in Pierpaolo Piccioli’s second attempt at Balenciaga. You might remember that I wasn’t satisfied with what I saw at his debut. Yet I thought, with sincere hope, that first tries are difficult and that the next season would be better. And here we are with the brand’s co-ed pre-fall 2026 lookbook: a collection that once again feels like a chaotic mash-up of Demna, Nicolas Ghesquière, and – oh lord – Alexander Wang’s era at the house. The merchandise floor was far too involved in designing this collection, seemingly trying to please everyone at Kering. READ MY FULL REVIEW HERE.

ED’s SELECTION:

Balenciaga Le City Medium Textured-leather Tote


Balenciaga Belted Plush Coat


Balenciaga Avenue Palazzo Crystal-embellished Bow-detailed Satin Sandals


Balenciaga Cat-eye Printed Acetate Sunglasses


Balenciaga Cape-effect Floral-print Plissé-crepe Gown

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Directionless. Balenciaga SS26

Alongside the stern, cold, and soulless Mugler collection by Miguel Castro Freitas, Pierpaolo Piccioli’s Balenciaga debut stood out as this season’s bleakest. This was particularly surprising given the now-legendary moments he once delivered at Valentino. I’m still not sure why Piccioli tried so hard to merge Demna’s aesthetic – oversized glasses, tough leathers, exaggerated proportions – with Nicolas Ghesquière’s urban coolness, which the collection only vaguely attempted to channel. The result was a confusing mix of directions that ultimately rendered the collection entirely directionless.

One could, of course, play fashion trivia and identify the visual nods to Cristóbal Balenciaga’s vast archives: the single-seam wedding dress, cocoon and sack silhouettes, elongated architectural forms… Yet Piccioli’s interpretations felt rushed and, above all, unflattering. There were even moments when I thought I was looking at a Victoria Beckham collection. She has a tendency of trying hard to make fashion statements through unnecessary gestures (that was the case this season). Very worrying.

But then I never was a number one fan of Piccioli’s ready-to-wear at Valentino. He’s a haute couture guy, so I’m very much looking forward to his take on the maison‘s sacred heart.

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Back To Black. Valentino AW24

Similarly to Rei Kawakubo, Valentino‘s Pierpaolo Piccioli sent down the runway an all-black collection as a response to our troubled world. While the Comme Des Garçons designer offered some light at the end of the tunnel – a white bridal cocoon dress – Piccioli presented a fully veiled, transparent gown. This super elegant line-up, filled with very fine day-to-day wardrobe staples and simply beautiful, at points austere in silhouette eveningwear, offered no happy end. And just a moment ago the designer would go PPPink.

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Crescendo. Valentino SS24 Couture

For spring-summer 2024 haute couture, Valentino‘s Pierpaolo Piccioli opted for the hushed intimacy of its salons on Place Vendôme. The designer’s aim was to emphasize the “sacred process” of couture. But there was nothing quiet about the presented haute garments; this was a full-tempoed crescendo from the first look till the finale. Piccioli’s lineup included the requisite red carpet stunners, but also indulged in a quirky day wardrobe in unusual volumes and colors. Oversize jackets, palazzo pants, scooped vests, fishtail skirts and duster coats came in shades like chartreuse, oxblood, lime, putty, mustard and sage. The designer skipped elaborate embroideries, focusing on silhouettes that require the highest skills of tailoring (and artisan) precision. Small oblong discs were bonded with patent leather to resemble crocodile skin on a glossy green men’s coat, while a barely there chiffon top sprouted tiny white feathers that were actually made from cut organza. “The magic comes from the illusion,” Piccioli said. With 64 sublime looks, the collection offered a dizzying array of options for awards season, including a stunning black velvet cutout dress trailing a long silk chiffon stole.

Piccioli noted that each piece that comes out of his workshop is unique, since no two people execute his sketches the same way – and that’s just how he likes it. “If you don’t project your own experience, your own life, your humanity into what you’re doing, you will never feel the soul,” he said.

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